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is misplaced, as is clear not only from the vindictive tone of Stopio’s corre-
spondence as a whole, but also from the fact that Fugger, one of the most intel-
ligent and discriminating patrons of the sixteenth century, almost completely
ignored his insinuations.18 In the following an attempt will be made to cull
from the correspondence the facts about Strada’s activities in Venice, discard-
ing Stopio’s subjective interpretations of these, and to place them as much as
possible within the context afforded by other sources.
12.3.2 Acquisitions of Antiquities for Duke Albrecht v of Bavaria
Strongly influenced by the ideas and the example of his Hofkammerpräsident,
Hans Jakob Fugger, who by this time had become the Duke’s primary advi-
sor in all artistic and intellectual matters, Albrecht V was bringing together at
Munich a complex of collections expressly aimed to further the interests of
the state as well as to serve the instruction and entertainment of the Prince
and his immediate circle. This complex consisted of an encyclopaedic Kunst-
kammer, a large library, and a collection of antiquities of a scale and quality
unique north of the Alps. For the Kunstkammer an accommodation had just
been completed, while the library and the Antiquarium were to be housed in
a second, specially designed building, the conception of which is, as we have
seen in chapter 8, largely due to Strada.
Strada’s employment by the Duke was the direct and logical consequence
of his earlier activities for Fugger. Strada had maintained his connection with
Fugger after his appointment at the Imperial court, and it is likely that he con-
tinued to scout and buy antiquities for him. It can hardly be a coincidence that
Fugger had been in Venice in 1560 and accompanied Strada when he first ne-
gotiated with the Venetian nobleman, Andrea Loredan, about the acquisition
of part or all of his huge and very famous collection of antiquities for Emperor
Ferdinand i, a deal which never materialized.19 Strada had been in Venice again
in March 1562, when he provided and annotated an inventory of the smaller
collection of Vincenzo del Gallo Bussoni, a list which is preserved in Munich
with a German translation, doubtless provided by Fugger on the Duke’s be-
half.20 When Fugger ceded his own collections to the Duke, he persuaded him
to employ Strada in the acquisition of additional antiquities in Italy.
18 In a letter dated Vienna 30 March 1569 (BHStA–LA 4852, fols. 228 ff.) Fugger, at the time
staying in Strada’s house, refutes Stopio’s accusations and sternly takes him to task for
his own mistakes and omissions in his services to Fugger and Duke Albrecht, and stops
responding to Stopio letters until the latter’s sudden death a few months later.
19 Von Busch 1973, pp. 117–118.
20 BHStA-LA 4851, fol. 29; printed in Stockbauer 1874, pp. 44–48.
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Buch Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Band 2"
Jacopo Strada and Cultural Patronage at the Imperial Court
The Antique as Innovation, Band 2
- Titel
- Jacopo Strada and Cultural Patronage at the Imperial Court
- Untertitel
- The Antique as Innovation
- Band
- 2
- Autor
- Dirk Jacob Jansen
- Verlag
- Brill
- Ort
- Leiden
- Datum
- 2019
- Sprache
- englisch
- Lizenz
- CC BY-NC-ND 4.0
- ISBN
- 978-90-04-35949-9
- Abmessungen
- 15.8 x 24.1 cm
- Seiten
- 542
- Kategorien
- Biographien
- Kunst und Kultur
Inhaltsverzeichnis
- 11 The Musaeum: Strada’s Circle 547
- 11.1 Strada’s House 547
- 11.2 High-ranking Visitors: Strada’s Guest Book and Ottavio’s Stammbuch 548
- 11.3 ‘Urbanissime Strada’: Accessibility of and Hospitality in the Musaeum 554
- 11.4 Intellectual Associates 556
- 11.5 Strada’s Confessional Position 566
- 11.6 Contacts with Members of the Dynasty 570
- 12 The Musaeum: its Contents 576
- 12.1 Introduction 576
- 12.2 Strada’s own Descriptions of his Musaeum 577
- 12.3 Strada’s Acquisitions for Duke Albrecht V of Bavaria 580
- 12.4 Strada’s own Cabinet of Antiquities 592
- 12.5 Acquisitions of Other Materials in Venice 599
- 12.6 Commissions in Mantua 610
- 12.7 ‘Gemalte Lustigen Tiecher’: Contemporary Painting in Strada’s Musaeum 615
- 12.8 Conclusion 628
- 13 Books, Prints and Drawings: The Musaeum as a centre of visualdocumentation 629
- 13.1 Introduction 629
- 13.2 Strada’s Acquisition of Drawings 630
- 13.3 ‘Owls to Athens’: Some Documents Relating to Strada’s GraphicCollection 634
- 13.4 The Contents of Strada’s Collection of Prints and Drawings 641
- 13.5 Later Fate of Strada’s Prints and Drawings 647
- 13.6 Drawings Preserved in a Context Linking Them withStrada 649
- 13.7 Strada’s Commissions of Visual Documentation: Antiquity 673
- 13.8 Strada’s Commissions of Visual Documentation: Contemporary Architecture and Decoration 692
- 13.9 Images as a Source of Knowledge 711
- 13.10 Conclusion 717
- 14 ‘Ex Musaeo et Impensis Jacobi Stradae, S.C.M. Antiquarius, CivisRomani’: Strada’s Frustrated Ambitions as a Publisher 719
- 14.1 Is There Life beyond the Court? 719
- 14.2 Strada’s Family 719
- 14.3 Ottavio Strada’s Role 725
- 14.4 The Publishing Project: Strada Ambitions as a Publisher 728
- 14.5 The Musaeum as an Editorial Office? 739
- 14.6 Financing the Programme 752
- 14.7 The Index Sive Catalogus 760
- 14.8 Strada’s Approach of Christophe Plantin 775
- 14.9 The Rupture with Ottavio 781
- 14.10 Strada’s Testamentary Disposition 783
- 14.11 Conclusion: The Aftermath 786
- 15 Le Cose dell’antichità : Strada as a Student of Antiquity 799
- 16 Strada & Co.: By Appointment to His Majesty the Emperor 830
- 16.1 Strada as an Imperial Antiquary and Architect 830
- 16.2 Strada’s Role as an Agent 836
- 16.3 Strada as an Independent Agent 840
- 16.4 ‘Ex Musaeo Iacobi de Strada’: Study, Studio, Workshop, Office, Showroom 843
- 16.5 Strada’s Influence: An Agent of Change 849
- 16.6 Conclusion: Strada’s Personality 863
- 16.7 Epilogue: Back to the Portrait 868
- Appendices 877
- Chronological List of Sources 915
- Bibliography 932
- List of Illustrations 986
- Index 1038